The Tate Britain’s annual exhibition showcasing works of this year’s Turner Prize nominees, “Turner Prize 10” (October 5 – January 3, 2011) recently started at the Tate Britain. In its 26th year, the Turner Prize, organised by the Tate gallery and staged at Tate Britain, is an annual prize presented to an artist under fifty, born, living or working in Britain, for an outstanding exhibition or other presentation in the twelve months before 28 April 2010. The winner will be announced in December. A list of its past winners and nominees includes leading artists in British contemporary art world such as Gilbert & George, Anish Kapoor, Antony Gormley, and Damian Hirst. The Turner prize is known that it often causes controversies. For example, a shark in formaldehyde by Damien Hirst and a recreation of Tracey Emin‘s untidy bed surrounded by condoms and cigarettes and other stuffs created a big debate of “what is art?” in the past.

This year’s nominees are painter Dexter Dalwood, Spanish artist Angela de la Cruz, sound installation artist Susan Philipsz and the Otolith Group with its work explores the moving image, sound and text. Dalwood’s works in the first room of the exhibition are characterized by its titles that evokes the presence of an absent celebrity without actually depicting him or her. The paintings themselves are just ordinary paintings, but I kind of like the bold colors and compositions. The next is the Otolith Group’s “Otolith III”, which explores the idea that a work of art exists in memory and the imagination even if it doesn’t exist in visual form. I left the room soon as I don’t fancy abstract video works in general and my patience ran out quite fast. De la Cruz typically works on a piece of canvas attached to a wooden stretcher and then paints, fold, tear, tuck it to make an abstract object. Her rather traditional and conventional artworks that don’t provoke or ‘shock’ us make me feel comfortable to look at. I walked through fast Philipsz’s work in a empty room playing her singing a Scottish folk song, simply because I just didn’t get it – I can listen to that kind of music on YouTube at home on my computer.

Art critiques’ reviews about this year’s exhibition are generally not good (BBC article), and I was not strongly impressed as well. I don’t agree with some “contemporary art” which gets an attention just because it is shocking or appalling, but it seems to me that this year’s choice does not meet the expectation of the public to “discover what’s new in British art now”.